Traditional music
Nothing is more symbolic of Mongolian music than the throat singing known as khöömei or khoomi (literally meaning "throat singing"). This "drone"-based diphonic chant is produced by the larynx and consists of two simultaneous sounds, one low-pitched, like a bass accompaniment, the other very high-pitched, like a nasal whistle. Once an essential tool in shamanic ceremonies, this true vocal performance is still very common today in celebrations of all kinds. It is now accompanied by instruments such as the khomus (a jew's harp) and the morin khuur (the horse-headed fiddle emblematic of Mongolian music). The style has been a UNESCO World Heritage Site since 2009, and boasts a number of stars: Khusugtun, who has performed all over the world, Dandarvaanchig Enkhjargal, also well known to world music fans, and Egschiglen, who plays traditional Mongolian music in a chamber music format.
While khöömei has long been a male preserve, female performers are increasingly visible, and groups such as Tyva Kyzy, made up exclusively of women, are gaining notoriety.
The combination of diphonic singing and morin khuur can also be found in the music of the Buryat people (an important Mongolian ethnic group in Siberia), usually with the addition of chanza, a plucked string instrument. Namgar, a true ambassador of this tradition, and Aleksander Arkhintcheev are undoubtedly the leading artists to listen to in order to experience the full beauty of Buryat music.
The Tuvan, a Turkic ethnic group from Siberia (in the Tuva region), also present in Mongolia, are another great khöömei people. They include such masters of the discipline as Kongar-ool Ondar and Huun-Huur-Tu, two absolute references to be listened to without fail, as well as the Alas Ensemble, much influenced by the first two. It's also among the Tuvan people that you'll find artists experimenting with more contemporary or less conventional forms: singer Sainkho Namtchylak, who mixes classical, jazz and khöömei, or the band Yat-Kha, who play khöömei in a punk, rock or metal sauce.
Long songs, or urtiin duu, are one of the oldest and most important forms of Mongolian song. Essentially vocal - although sometimes accompanied by instruments - these songs are distinguished by the vocal modulations of syllables that their author must hold for as long as possible (hence the name). Ornamentation abounds in these songs, and their composition is free. In its ascending phase, the melody is poised and measured, while in its descending phase, it is more jerky and catchy. Still adored in Mongolian society, this form of expression remains associated with important celebrations and festivities: weddings, births, etc. Bukhchuluun Ganburged, also known as Bukhu, is considered a virtuoso of the long song (as well as the khöömei and morin khuur ). The iconic singer Namjilyn Norovbanzad was also a true queen ofurtiin duu.
In contrast to long songs, there are... short songs (or bogino duu)! Here, on the other hand, the rhythm is lively and the tunes are accompanied by instruments. In a different register, Mongolia also has epic songs called tuul. Reserved for men, unlike short or long songs, they are written in verse and sung to the sound of the moriin khuur. Two categories of epic song can be distinguished: domog, inspired by legends or historical accounts, and magtaal, most often in praise of nature.
There's no shortage of opportunities to get up close and personal with Mongolian musical tradition. Celebrations such as Navrus, the spring festival, are full of them. Otherwise, the Tumen Ekh and Tsagaan Lavai ensembles are a must, offering a wide panorama of traditional Mongolian performing arts on an almost daily basis. Dances with masks, contortionists, orchestras composed exclusively of traditional instruments and khöömei singers follow one another, to the delight of an audience mostly made up of foreigners. Otherwise, it's worth noting that the Silk Road Bazaar restaurant offers concerts from time to time in its ground-floor hall.
Classical music
As in virtually all the countries of the former Soviet Union, Mongolia cultivated a rich, scholarly music scene in the second half of the 20thcentury . As a result, many composers gained national recognition (as long as they remained faithful to the doxa of Soviet realism), and a number of Mongolian symphonies and ballets saw the light of day.
The three pillars of composition are Gonchigsumlaa, Choidog and Mördorj, a trio strongly influenced by the works of Tchaikovsky and Mahler. The first, Sembiin Gonchigsumlaa (1915-1991), was widely regarded as one of the greatest contributors to modern national music, notably as the first to compose a Mongolian ballet. The second, Eregzengiin Choidog (1926-1988), remains indispensable thanks to his Friendship overture. This was composed in 1962 for the USSR Radio and Television Symphony Orchestra, and his ballet The Tale of Lady Choijid is considered one of the pillars of Mongolian lyric theater. Finally, the third, Luvsanjambyn Mördorj (1919-1996), is best known as the composer of Mongolia's national anthem. At the same time, Bilegiin Damdinsüren (1919-1992) also made national history by composing operas incorporating traditional folk melodies. Following in his footsteps, the prolific Byambasuren Sharav (1952-2019) composed several concertos for Mongolian folk instruments, as well as three symphonies and four ballets.
The country has a National Symphony Orchestra, founded on June 5, 1957 - making it one of the oldest in Asia - which can be seen at the State Academic Theatre of Opera and Ballet. Built in 1932, it remains one of the Mongolian capital's cultural hotspots, with opera and ballet performances every weekend throughout the year, as well as during the week in summer.
Current music
It's a little-known fact outside the country, but Ulaanbaatar's young creative scene is absolutely flourishing. That said, although the country abounds in young artists, few of them have the opportunity to export their work and remain confined to a local audience.
What gives this scene its unique flavor is that most young artists are very attached to their roots, and include traditional Mongolian tunes or instruments. This is the case of Enji in jazz (a young artist to keep a close eye on), Lumino in hip hop, Altan Urag or Soyol Erdene, two veteran rock bands steeped in Mongolian influences. Go and listen to The HU or Nine Treasures, metal played with morin khuur and featuring Mongolian poetry in the lyrics.
The culmination of this musical ebullience is the Playtime Rock festival, usually held in July, which has become the annual rendezvous of Mongolian youth.
For jazz, a good address in the capital is the Face Disco Club, an upmarket club offering weekend concerts and, in general, rather Western music.
The dance
Bielgee dancing. Bielgee dancing is a particularly lively tradition in the west of the country. It is often accompanied by melodies played on the moriin khuur or yootchin. It's a dance in which the feet remain motionless and only the upper body moves. The dance is similar to pantomime, since it depicts scenes from everyday life. The themes are often imposed, but the dancer improvises her movements. Slight variations in this dance can be spotted according to ethnic group: some dance squatting, others standing..
Religious dances. Religious dances are probably the best known, thanks in particular to the tsam dances, recently rehabilitated in the country. These are religious rituals that dramatize Buddhist teachings in a mixture of theater and dance. Tsam dances are particularly impressive, thanks to the richness of their costumes. Some performances required up to 108 different characters and costumes.
Contortionists. Mongolia is also the land of contortionists. This traditional discipline is still frequently performed, both in Mongolia and abroad. The technique is recognized by UNESCO as part of its cultural heritage.
